On stage 24 productions, 32 years
| 1922 | Orange Blossoms Fulton Theatre · Original | 95 perf. |
| 1923 | Aren't We All? Gaiety Theatre · Original · directed by Hugh Ford | 32 perf. |
| 1923 | Cinders Dresden Theatre · Original | 31 perf. |
| 1923 | Stepping Stones Globe Theatre · Original · directed by Mary Read | 281 perf. |
| 1924 | Annie Dear Times Square Theatre · Original · directed by Edward Royce | 103 perf. |
| 1925 | When You Smile National Theatre · Original · directed by Oscar Eagle | 49 perf. |
| 1926 | Rainbow Rose Forrest Theatre · Original · directed by Walter Wilson | 55 perf. |
| 1928 | Hold Everything! Broadhurst Theatre · Original · directed by (uncredited) | 413 perf. |
| 1928 | She’s My Baby Globe Theatre · Original · directed by Edward Royce | 71 perf. |
| 1931 | America's Sweetheart Broadhurst Theatre · Original · directed by Monty Woolley | 135 perf. |
| 1932 | Take A Chance Apollo Theatre · Original · directed by Edgar MacGregor | 243 perf. |
| 1934 | Calling All Stars Hollywood Theatre · Original · directed by Thomas Mitchell | 36 perf. |
| 1937 | Hooray For What! Winter Garden · Original · directed by Vincente Minnelli, Howard Lindsay | 200 perf. |
| 1939 | Very Warm for May Alvin Theatre · Original · directed by Vincente Minnelli, Oscar Hammerstein II | 59 perf. |
| 1940 | Hold on to Your Hats Shubert Theatre · Original · directed by Edgar J. MacGregor | 158 perf. |
| 1940 | Walk With Music Ethel Barrymore Theatre · Original · directed by R.H. Burnside | 55 perf. |
| 1942 | Beat the Band 46th Street Theatre · Original · directed by George Abbott | 68 perf. |
| 1945 | The Overtons Booth Theatre · Original · directed by Elisabeth Bergner | 175 perf. |
| 1945 | The Red Mill Ziegfeld Theatre · Revival · directed by Aida Broadbent | 531 perf. |
| 1951 | Springtime Folly John Golden Theatre · Original · directed by Leon Michel | 2 perf. |
| 1952 | Of Thee I Sing Ziegfeld Theatre · Revival · directed by Jack Donohue | 72 perf. |
| 1953 | A Girl Can Tell Royale Theatre · Original | 60 perf. |
| 1953 | Hazel Flagg Mark Hellinger Theatre · Original · directed by David Alexander | 190 perf. |
| 1954 | The Golden Apple Phoenix Theatre · Original · directed by Norman Lloyd | 173 perf. |
Each row is a staging this name appears in the cast list of, read from the production record rather than from the person record. The person record names works instead, and a work cannot say which run somebody was in — that is how Elaine Stritch ends up filed under Show Boat 1927 when she was in the 1994 revival. No row here says what part was played, because no cast list records it.
Worked with more than once12 names
| Dorothy Stone | 3 productions |
| Woodey Lee Wilson | 2 productions |
| Vera Dewolfe | 2 productions |
| Thomas Fitzpatrick | 2 productions |
| Sid Salzer | 2 productions |
| Roberta Beatty | 2 productions |
| Queenie Smith | 2 productions |
| Pearl Eaton | 2 productions |
| Oscar Ragland | 2 productions |
| Nancy Welford | 2 productions |
| Myrtle le Roy | 2 productions |
| Mitzi Mayfair | 2 productions |
Both names in the same cast list, more than once. It is not evidence of a partnership — a long-running company puts the same forty people together every night — but it is where one would start looking. 8 of these names are not links because we hold no record behind them; the name is set from the identifier and its punctuation may be wrong.
Also credited on2 works
America's Sweetheart
She’s My Baby
These come off the person record, which names a work and not a production. So we can say this name is attached to the work and we cannot say which staging, or in what capacity. For a composer or a writer that is the whole career we hold; there is no cast list to find them in.
What this page does not know
- What this person played. No cast list we hold records a character against a performer.
- Birth or death year. Neither is on the record.
- Any biography.
- Any portrait. 1,626 of 7,139 people have one, so this is the usual case rather than the exception.
- Which of the credits above the roles on this record — actor — apply to. The roles sit on the person and never on a credit, so a director who also acted looks the same here as one who did not.